Cyndi Lauper, Linda Perry and Toby Keith are set to be inducted into the Songwriters Hall of Fame as part of the Class of 2015. Tragic Grateful Dead frontman Jerry Garcia and his frequent collaborator Robert Hunter will also be feted, as will country songwriter/producer Bobby Braddock and late blues star Willie Dixon.
Songwriters Hall of Fame President & CEO Linda Moran says, "Our 2015 lineup of inductees represents the rich diversity of American musical styles - Rock, Country, Blues and Pop - that have captivated the world over the past six decades. Each one of these brilliant music creators have written instantly recognisable classics, songs that are both of their time and timeless."
The Class of 2015 will be honoured at the organisation's 46th annual Induction and Awards Dinner in New York City on 18 June (15).
Gloria Estefan and Kenneth 'Babyface' Edmonds were among the artists who missed out on inductions after being shortlisted for the honour in October (14).
The Songwriters Hall of Fame features the likes of Hal David and Burt Bacharach, John Fogerty, Bob Dylan, Carole King, Paul Simon, Brian Wilson, Bruce Springsteen and Leonard Cohen.

Walt Disney Pictures/Marvel
To a large extent, blockbuster movie soundtracks are all the same. There's probably some Kanye, a few dubstep tracks to keep things upbeat, maybe a classic rock song or two, and then some kind of instrumental score meant to add some tension or sentiment at the appropriate moments. And it makes sense — you're not paying for perfectly-scored moments of emotion, you're paying to watch people punch each other and blow things up. So when a blockbuster film manages to match the perfect song to the perfect scene, something special happens. Suddenly, it's not just about the effects. It's about the experience. And even though we've yet to see Guardians of the Galaxy, we can tell that it's going to be that kind of film, thanks to the cheesy classic rock featured in the trailer and the presence of the founding member of Mouserat. In honor of its August 1 release, we've rounded up some of the most iconic blockbuster movie moments in cinema history. After all, what's the point in saving the world if Kenny Loggins isn't singing about it?
“Trouble Man” by Marvin Gaye, Captain America: The Winter Soldier At the start of the film, Sam Wilson makes a tentative attempt at friendship with ol' Steve Rogers by recommending he check out Marvin Gaye’s classic 1972 album; at the end of the film, Steve wakes up in a hospital bed with Sam by his side and the title track playing over the speakers. Because even if you’re unconscious, Sam Wilson is going to ensure that your musical education is complete.
"Non Je ne Rigrette Rien” by Edith Piaf, Inception Primarily used as a way to signal to the people in-dream that the kick is coming, “Non Je ne Rigreete Rien” also warned of a much more dangerous shock headed towards the team: Mal. Sure, it’s a bit on the nose for the recurring dream-ghost of Leonardo DiCaprio’s dead French ex-wife, but finding the perfect movie music moment isn’t necessarily about being clever – it’s about creating a mood. And besides, Christopher Nolan’s not the subtle type.
“Eye of the Tiger” by Survivor, Rocky III It doesn’t matter that Rocky didn’t start training to the sweet, sweet sounds of ‘80s rock until the third installment of the franchise. When you think Rocky, “Eye of the Tiger” automatically starts playing in your head. It might not have been the original music moment of the series, but it’s the most enduring; even the Broadway production couldn’t resist working it into the score. You should hear it in five-part harmony.
“Danger Zone” by Kenny Loggins, Top Gun The love scene scored to Berlin might be a bit more iconic, thanks to its awesomely cheesy use of backlighting, but the best musical moment in Top Gun is, without a doubt, the montage of fighter pilots taking off, scored to what is perhaps Kenny Loggins’ most ridiculous hit of all. Did Berlin give us one of the best running jokes of all time? No. No they did not.
Rogue Pictures via Everett Collection
“Don’t Stop Me Now” by Queen, Shaun of the Dead Edgar Wright’s Cornetto Trilogy is filled with hilarious gags and perfectly-timed music cues but none are more elaborate, ridiculous or more pitch-perfect than the gang’s choreographed attacks on the zombies in the bar, using an assortment of pool cues, a fire extinguisher and a last-minute rifle. The fact that everyone in the film acknowledges the insanity of the situation – and even dance along! – makes it unforgettable.
“Where Is My Mind” by Pixies, Fight Club Fight Club is a weird, twisted psychological thriller that leaves you questioning what was real and what was hallucinated. Therefore, the only appropriate song to end it with is one that asks the core question of the film: “Where Is My Mind?” Just melancholy enough to fit the tone, and just obvious enough to help even the slowest members of the audience make the connection.
“Johnny B. Goode” by Chuck Berry, Back to the Future When you’re tasked with reviving the party at your parents prom, you could go the safe route and play something everyone would be familiar with, or you could invent rock and roll by busting out some Chuck Berry… before he’s even heard it. And then you can make everything awkward by extending a guitar solo for far too long and freaking everyone out, but hey, Marty McFly was ahead of his time. It’s not his fault they didn’t get it.
“You’re the Best” by Joe Esposito, The Karate Kid In the ‘80s, wimpy kids everywhere were inspired to stand up for themselves and find their inner Karate Kid thanks to Mr. Miyagi. But his “wax on, wax off” philosophy would be nothing without the encouraging synth-pop of Joe Esposito telling them that nothing could ever bring them down. How else were they supposed to get pumped up for the biggest karate competition of their life? Or you know, the playground. Both are intimidating.
“Born to Be Wild” by Steppenwolf, Easy Rider Since its release in 1968, “Born to Be Wild” has been the second favorite song of music supervisors looking to indicate someone as a “bad boy” without actually forcing the other characters to say it. (The first, of course, is “Bad to the Bone.”) It might be cliché now, but it all dates back to 1969, when Dennis Hopper and Peter Fonda set off on a road trip and ensuring that any time someone bought a motorcycle, a Steppenwolf reference would be made.
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Rogue Pictures/Everett Collection
A geek, in the broadest sense, is someone with a deep interest in subject. Of course, geeks tend to gravitate towards the fringe subjects like comic books, video games, science fiction, and even something as academic as math. What separates them from a casual fan is the level of thought they put behind their interests. Levels that many would even consider crazy. These movies were not shy about capturing that enthusiasm that geeks brought to the table. This not a list of movies geeks like; that would be filled with Star Wars and the Lord of the Rings Trilogy. This list is about the celebration of geeks and their culture, with a bit of a look into how their minds work.
GALLERY: Geekiest Movies of All Time
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X Factor competes with American Idol in many not so subtle ways. It’s got the obvious: carbonated, sugary beverage sponsor, pop singers as judges, and Simon Cowell (who’d be a legitmate bragging point if the ratings were higher). But this week, they pulled out the big gun: bring on a famous person’s daughter.
You may remember that during January’s American Idol auditions, we were introduced to a young woman named Jane. She had a decent voice and her father just happened to be Jim (freaking) Carey. No big deal. She went on a talent search in an effort to win success on her own, without using her father’s connections to attain her goals. It was admirable, the problem was that she wasn’t nearly as good of a singer as her competitors were. Still, Idol did a little dance around her for the time she spent on the show throughout the audition rounds.
Now, enter the final week of the X Factor auditions, in which they play with time like a rubber band and hop back to San Francisco auditions, where we started in episode one, to meet a young woman named Sophie Tweed-Simmons. She introduces herself as a student and shows up in a black SUV with a chauffeur, forcing we, the students of reality TV, to assume she’s going to be nothing more than a rich brat. It turns out she’s the daughter of Gene Simmons and Shannon Tweed. Just like Jim Carey’s daughter before her, she wants to do this on her own. (Strange then, that she brought her famous father with her. But we’ll move on from there.)
Now, so far, X Factor and Idol are almost on par in the “Children of a Celebrity” category, except that all we got on Idol was a phone call from Mr. Carey. Here, we get the actual Gene Simmons. Plus - and oh, is there a plus - we get a one-sided rivalry concocted with the help of good editing and one young woman’s serious attitude problem.
Meet Tara Simon, a 27-year-old vocal coach and chronic woo-woo-er who should know better. But she doesn’t and she spends the entirety of her on-deck time making fun of sweet Sophie for getting by on her dad’s fame. Yes, Tara. That’s clearly why she even bothered to come to a cattle call in a San Francisco parking lot full of crazy people. Because she’s a privileged brat who's succeeding on her father’s music industry connections. Music execs always send you to a reality show before they really consider you. Oh wait, no they don’t, because that’s insane.
The producers, however, are keen to promote this insane “rivalry” and put both girls’ auditions back-to-back. Demi recognizes Sophie because she knows Nick Simmons, and just like that, the judges all realize who Sophie is and her face drops like she just found out sunshine was discontinued. Besides the fact that she didn’t know “Make You Feel My Love” was actually by Bob Dylan and not Adele, her rendition of the song was sweet and sultry, though it did lack that extra punch you seek in a famous singer. Still, they’ve fawned all over lesser singers on this show and she’s a joy to watch. When voting time comes, L.A. is unconvinced and delivers the first judges’ spilt of the night. He says no. However, the others aren’t quite as hard on her and send her on through on the basis that she needs work, but she’s got the goods.
Take that, singing Regina George! Right? Right?! Wrong. Just when you think they’ve pulled the usual reality show schtick and played up the sweet girl who’s actually pretty terrific while the mean girl is sure to be full of herself and awful (hello, episode one of this season), that’s not the case.
Just before she takes the stage, Tara talks even more crap and waltzes onto the stage calling herself the Simon Cowell of her vocal studio, waving her arms claiming she’s the next Christina Aguilera (whoa, dream big) and chirping that she’s primed to take over one of the ladies’ judging seats. Thankfully, Simon tells her to shut up and sing, just in time for her to not be the worst singer ever.
And this is when we have a dilemma. Hey, X Factor, you just set us up to hate this girl. She’s the worst kind of human, according to everything you’ve showed us. She’s mean, spiteful, proud. She’s cheesy and yells like she’s a caricature of a country star. There’s no way she’ll be good. And then, she’s still over-the-top, but she too has the raw goods. She’s simply the victim of over-training. She gets four “yeses.” Damnit. You know what this means, don’t you? This rivalry is going to be milked for at least a few boot camp episodes. At least Simon knows that she’s an “utter drama queen.”
Next: All aboard the insanity train!The rest of the episode was colored with even more absurdity: splicing in newscasters like Superman is about to swoop down and save a group of young ladies in mortal danger, staged Demi-love, Simon on a scooter, and Britney’s “prank” on the judges’ assistant which consisted of simply asking the poor kid to do annoying useless tasks. Oh no! Don’t make him go out looking for a stupid hat! That’s definitely not demeaning and probably not any different from anything else you usually ask for. Later, when we find out the thrilling conclusion of this saga, our reward is Simon in a tiara and an unrelenting sense that Britney might own the best leather jacket ever. Seriously, I want it. Where can I get it?
Finally, we were treated to a string of folks with potential, some of whom are reminiscent of other famous singers, and another set of folks who are so bad, we're left with no choice other than cursing the producers for including them in this two-hour engagement.
First up, Adonis, the bandana-ed wonder and his “uh-ing” friend Jon. Yes, all Jon can do onstage is say “uh.” Riveting stuff. They attempt “Hello” by Lionel Richie, and by attempt, I mean the wildly inaccurately and probably self-named Adonis wailed onstage while his friend provided the appropriate amount of grunting support while Britney cackled and screamed “Oh, gawd.” And if that and the audience’s ubiquitous booing wasn’t enough, we actually had to watch the whole panel tell them no.
After a string of tragedies including a girl with a tragic case of oversized coat with short shorts and no singing ability, a guy who confused himself with a Backstreet Boy turned russian dancer, a girl so boring she put us to sleep with a single note, a slutty Charlie Chaplin, and a steampunk sad sack who cried his way off the stage, we were greeted with a refreshing sight: a human being.
Fifteen-year-old Dinah Jane, made me feel old by admitting she used to sing “Oops I Did It Again” at age four. When the soundtrack switched gears to Selena Gomez’ “Who Says” it was obvious she is going to be good. And then she lathered it on with a story about her 20-person family living in a four-bedroom house. Luckily, her talent delivers on this classic reality show promise. She sings “If I Were a Boy” and she’s a little over dramatic, but she’s got the aura and the raw goods: a very full, mature tone. She just needs to learn a little more control, and the judges are willing to give her that chance.
Next up is Aaron Ray, a 16-year-old Ohio-native who was cut from group rounds last year. He’s adorable and grounded and of course Demi thinks he’s cute. Underage alert! He sings an original song, but it’s clear he’s been listening to a lot of Chris Brown. He’s a little shaky, but he’s got Demi and Britney giggling like teen girls while the actual teen girls squeal in the audience. Demi looks like she’s going to take a bite right out of him. Mission accomplished: yeses all around.
A series of good singers including Little Suzy country singer, the charming and cute 16-year-old Nick Perelli (he does have one hell of an ugly-cry though), the living personification of Scout from To Kill a Mockingbird, and a rap duo comprised of a man with a stuffed animal on his arm and a Milli Vanilli zombie build us up.
And then it all falls down. We meet Changyi Li, age 52 with a serious aging complex. She’s dressed like Shirley Temple sailor and says she wants to be like Taylor Swift, Lady Gaga, and Britney right before she absolutely butchers “My Heart Will Go On.” And while I could regale you with the tales of the judges’ reactions, I’m drawing the line. This practice should have died with Idol circa 2005. This is just cruel, producers, and I won’t participate. The poor woman is sent home after witnessing an entire stadium laughing in her face.
When we skip over to Greensboro, North Carolina, we’re greeted with Draco Malfoy, faux hawk edition. Austin Carini has girls walking up to him like he’s Justin Bieber. The producers clearly put these fame-mongering little girls up to their task to ask this pimply kid for his autograph. He’s not even on TV yet and he’s just some dopey kid. Of course, when he gets on stage, it’s clear he’s been studying his idols: Bieber and One Direction. He’s an alright singer and he gets the girls going. All you need to be a teen hearthrob is fake charm and a decent voice. Oh and a cute face. Maybe some stupid hair. L.A. points out that his schtick isn’t all that special, but they still send him through on hope. That’s all we need, another kid who hopes he can be the next Bieber. There aren’t enough squealing teenagers at concerts across the country.
Next: Meet Donnie and Marie go to Wet Seal.And then, we’re disgusted more than we thought possible. Jaime, a pop duo made up of a boyfriend and girlfriend with magnetic lips take the stage. They’re basically like Donnie and Marie go to Wet Seal. ”We wake up and stare into eachothers eyes for 20 minutes” and “then we sing all day” - these are actual words they say to the cameras. When they kiss onstage, Britney has no qualms about casting some serious shade. And it only gets worse when they deliver their original song and dance inadvertently inspired by the work of S Club 7. In case you couldn’t guess, they were sent packing.
Finally, we got to end on a few high notes: David Corey and Daryl Black. First up is David, who’s basically a gruff Bruno Mars. And surprise of all surprises: he sings a Bruno Mars song. The good thing is that he actually does it pretty well, taking on the upper register challenges with ease. I’m not sure why his song made Britney break down, but his four yeses were certainly deserved.
Next, Daryl is married with two teenage kids and steps up to the plate with “Stereo Hearts” by Gym Class Heroes. He looks like some regular Joe, but presents a deconstructed version of the song that allows him to appear more hip while exercising his strength: true R&amp;B flavor. He’s so good, Britney gives him her happy, squinty pixie face and Simon compares him to Nat King Cole. Now look, Nat King Cole was a velvet-voiced god among men, so let’s not be hasty, Simon. Daryl is good. Let’s wait until he start singing on the real stage with a little training before we start throwing around ego-boosters we can’t take back.
But, we can’t end with a pleasant, good singer. Nay. This is reality television. The penultimate auditions episode drops us with 13-year-old Trevor Moran, who has so much energy the atmosphere spontaneously bursts into a round of “Call me Maybe.” Then he gets sick and the paramedics have to come, and with zero shame, the show uses it as the sole teaser for tomorrow’s final episode of the auditions. Why’d you have to go and ruin everything, X Factor? Is it time for boot camp yet?
Follow Kelsea on Twitter @KelseaStahler
[Photo Credit: Fox]
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'X Factor' Recap: Trouble, Trouble, Trouble
'X Factor' Premiere Part 2: You Can't Be Pretty and Talented

The remake of Total Recall never escapes the shadow of its Arnold Schwarzenegger-led predecessor — and strangely it feels like a choice. With a script that's nearly beat-for-beat the original film Total Recall plods along with enhanced special effects that bring to life an expansive sci-fi world and action scenes constructed to send eyes flipping backwards into skulls. Filling the cracks of the fractured film is a story that without knowledge of the Philip K. Dick adaptation's previous incarnation is barely decipherable. Those who haven't seen Paul Verhoeven's 1990 Total Recall? Time to get a few memory implants. 2012 Recall makes little sense with the cinematic foundation but it does zero favors to those out of the know.
Colin Farrell takes over duties from Schwarzenegger as Douglas Quaid a down-on-his-luck factory worker hoping to escape his stagnate existence with a boost from Rekall a company capable of engineering fake memories. Quaid calls the damp slums of "The Colony" home (one of two inhabitable parts of Earth) but he dreams of moving to the New Federation of Britain a pristine metropolis on the other side of the planet. When the futuristic treatment goes awry — caused by previously existing memories of our blue collar hero's supposed past life as a secret agent — Quaid emerges from Rekall with lethal power hidden under his mild-mannered persona. He quickly goes on the run escaping squads of soldiers robots and his assassin "wife " Lori (Kate Beckinsale) all hot on his tail. Total Recall turns into one long chase scene as Quaid unravels the mystery of his erased memories.
But when it comes to answers and heady sci-fi Total Recall falls short. Farrell isn't a hulking action star like Schwarzenegger but he's a performer that can sensitively explore any human crisis big or small. Director Len Wiseman (Underworld Live Free or Die Hard) never gives his leading man that opportunity. Farrell makes the best of the films occasional slow moment but the weight of Recall's mindf**k is suffocated in a series of fist fights hovercar pile-ups and foot chases pulled straight out of the latest platformer video game (a sequence that sends Quaid running across the geometric rooftop architecture of The Colony looks straight out of Super Mario Bros.). When Jessica Biel as Quaid's former romantic interest Melina and Breaking Bad's Bryan Cranston as the power-hungry politico Cohaagen are finally woven into Farrell's feature length 50 yard dash it's too late — the movie isn't making sense and it's not about to regardless of the charm on screen.
The action is slick and the futuristic design is impeccable but without any time devoted to building the stakes Total Recall feels more like a HDTV demo than a thrilling blockbuster. The movie's greatest innovation is the central set piece "The Fall " an elevator that travels between the two cities at rapid speed. The towering keystone of mankind is a marvel but we never get to see it explore it or feel its implications on the world around it. Instead it's cemented as a CG background behind the craze of Farrell shooting his way through hoards of bad guys.
Science fiction more than any other dramatic genre twist demands attention to the details. New worlds aren't built on broad strokes. But Total Recall tries to get away with it in hopes that audiences will recall their own movie knowledge to support its faulty logic. The movie repeatedly prompts viewers to think back to the 1990 version with blatant fan service that's absolutely nonsensical in this restructured version (no longer does Quaid go to Mars but there's still a three-breasted alien?). The callbacks may have given Total Recall a "been there done that" feel but rarely is it coherent enough to get that far. By the closing credits you'll be struggling to remember what you spent the last two hours watching.
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The British TV regular headlined two shows at the Chaplin Hall in St. Petersburg last week (ends13Apr12), with many fans listening to his banter via a translator on headphones.
Despite the language barrier, Moran tells the BBC he loved performing in Russia: "I found the Russian audiences to be full of energy and interest, and as engaged and engaging an audience as you could hope to meet... I can't wait to go back."

The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.

WHAT IT’S ABOUT?
Claire is an attractive CIA operative and Ray is an M16 agent who simultaneously leave their Governmental spy activities in the dust to try and profit from a battle between two rival multi-national corporations both trying to launch a new product that will transform the world and make billions. Their goal is to secure the top-secret formula and get a patent before they are outsmarted. While their respective egomaniacal CEOs engage in an unending battle of wills and one-upmanship Claire and Ray start out conning and playing one another in a clever game of industrial espionage that is even more complicated due to their own long-term romantic relationship.
WHO’S IN IT?
Reuniting Closer co-stars Julia Roberts (as Claire) and Clive Owen (as Ray) turns out to be an inspired idea. They turn out to be the perfect pair oozing movie-star charm and electricity in this elaborate con-game that might have been the kind of thing Audrey Hepburn and Cary Grant might have made in the '60s (in fact they did in Charade). Roberts with that infamous hairstyle back the way we like it and Owen looking great in sunglasses prove they have what it takes to navigate us through this ultra-complex plot in which no one is sure who they can trust at any given moment. They play it all in high style and the wit just flows as the story skirts back and forth during the period of five years. The supporting cast is well-chosen with juicy roles for Tom Wilkinson and Paul Giamatti (out of their John Adams duds) as the two CEOs going for each other’s throats. Giamatti who sometimes has a tendency to overdo it is especially slimy here and great fun to watch.
WHAT’S GOOD?
Big-star studio movies today rarely take risks and often talk down to the audience but in Duplicity writer/director Tony Gilroy (Michael Clayton) has crafted a complicated con-comedy that requires complete attention at all times just to keep up with the dense plot’s twists and turns. It’s the cinematic equivalent of a New York Times crossword puzzle and Gilroy and his top-drawer production team deliver a glossy beautiful-looking film that’s easy on the eyes hitting locations from Dubai to Rome to New York City.
WHAT’S BAD?
Like any good puzzle it sometimes can be frustrating putting it all together and Gilroy’s habit of taking us back in time and then inching forward gets a little confusing even with the on-screen chyron pointing out where we are at any given moment. Stick with it though and you will be well-rewarded.
FAVORITE SCENE:
A scene near the end where the formula must be found scanned and faxed in a matter of minutes is sweat-inducing edge-of-your-seat moviemaking and it provides the ultimate opportunity for Roberts and Owen to take the “con” to the next level. Another where Roberts uses a thong to try and trick Owen into admitting an affair he never had is also priceless and gets right to the heart of the game-playing.
GO OUT AND GET POPCORN WHEN ...
Never. Stock up during the coming attractions. If you miss a moment of this entertaining romp you might never figure it all out.

Remember the slacker Pegg hilariously played in Shaun of the Dead? Dennis Doyle is just as much of a loser. But instead of fighting zombies Dennis’ engaged in a battle of the bulge. Five years after leaving a pregnant Libby (Thandie Newton) at the altar Dennis is out of shape out of money and out of his ex-fiancée’s good graces. Libby’s now dating Whit (Hank Azaria) an American businessman who’s everything Dennis isn’t. “He’s handsome well-off friendly ” we’re told several times. Threatened by Whit’s presence in the lives of Libby and son Jake (Matthew Fenton) Dennis finally gets his butt out of bed when he decides to compete against Whit in a charity marathon. Dennis can barely sprint to the bus stop and back and he’s only got a month to get fit. But he’s convinced running the marathon will allow him to win back Libby and make him look like a hero in Jake’s eyes. And so Dennis makes like every underdog we’ve come to know and love in his bid to drop the extra pounds run the marathon and recapture Libby’s heart. Too bad this takes him--and Run Fat Boy Run--down the marathon route well traveled. Shaun of the Dead and Hot Fuzz proved that Pegg’s damn funny whenever he’s spoofing all things Hollywood with director Edgar Wright. Unfortunately he doesn’t have what it takes to be the next Hugh Grant. Pegg’s mastered the art of slothfulness but he’s ill at ease trying to express genuine emotions or generate some sparks with Newton. Maybe his discomfort stems from the padding he wears around his waist. Still there’s some tenderness to be found in the interaction between Pegg and the affable Fenton. If Schwimmer wanted to distance himself from Friends’ nerdy Ross he should have cast himself as Whit. The problem with Azaria--who looks even more ripped than he did in Along Came Polly--is that he reveals just enough of a hint of insincerity when we first meet Whit to tips us off that will become the “arsehole” Dennis thinks he is from the start. Newton sadly doesn’t have much to do other than to look through Pegg and gaze longingly at Azaria. But Irish comic Dylan Moran as Libby’s scheming cousin and Jake’s pal pretty much runs away with Run Fat Boy Run with his biting wit devil-may-care attitude and frequent flashes of flesh. So Schwimmer’s the latest sitcom star to go all Rob Reiner on us. OK he did try directing during his Friends years. Luckily Run Fat Boy Run represents a significant improvement over 1998’s consigned-to-TV Since You’re Been Gone. Schwimmer keeps things light and breezy but he’s saddled with an uneven script by his Big Nothing co-star Pegg and The State’s Michael Ian Black. Things start off quite flat and unfunny but the film gains much comic impetus when Dennis begins training in earnest. Some of Schwimmer’s directorial touches do seem somewhat gimmicky. Do we really need to see Dennis attempt to crash through an imaginary brick wall when he runs out of energy miles from the marathon finish line? Still Schwimmer does good job of involving us in Dennis’ plight even if the outcome is never in doubt. Unfortunately Pegg and Black never strive to surprise us. How refreshing it would be to discover that Whit is the right man for Libby forcing her to choose between both suitors. But everything you suspect will happen does happen right down to the film’s Rocky-esque ending. Unfortunately like Dennis himself Run Fat Boy Run never tries hard enough until it’s do-or-die time.

The film follows the same tired action genre step by step. Ex-con and single dad O2 (Tyrese Gibson) is trying to go straight for the sake of his young son Junior. But when the kid is kidnapped in what seems to be a typical carjacking O2 has to pull out all the stops to get him back. Turns out O2 had some nefarious dealings with a gang overlord named Big Meat (The Game) who likes to hack off people’s body parts with a machete. And now Meat wants some payback taking for ransom the only thing O2 cares about in the entire world [sniffle]. So what’s a guy to do? Pit rival gang leaders against each other hook up with a beautiful street hustler (Meagan Good) rob safety deposit boxes and get caught in an extended car chase that’s what. "It's either all or nothing " realizes O2. Very prophetic. Waist Deep has got some great character names--Meat O2 Coco Lucky Junior. Too bad most of the performances can’t live up to them. Tyrese (Four Brothers) does try his best though as the hunky O2 making a convincing albeit a tad stiff attempt at playing a father who’s whole life is his son. Good (Roll Bounce) gets to wear tight sexy clothes and strut around as Coco O2’s accomplice and eventual love interest as they rob banks Bonnie and Clyde style. Larenz Tate (Crash) plays Lucky O2’s unreliable cousin who actually isn’t lucky at all caught between a rock and hard place. And then there’s Meat played by big-time rapper The Game in his feature debut. With a battered face and covered in tattoos The Game certainly looks like one mean badass wielding a mad machete. Thankfully he doesn’t have to do much more than that. Here’s a few words of advice to would-be actors who want to play effective bad guys: Less is more. It’s movies like these that really give South Central L.A. a bad rep—shoot-outs in the middle of the street in broad daylight the carjacks the depravity the sad stories of little kids getting shot. It’s not exactly a warm and fuzzy place. Of course actor-turned-director/co-writer Vondie Curtis-Hall (best known for his numerous TV guest spots) doesn’t want it to be showing the grit in all its glory and collecting a cast from the area who could lend some credibility to the surroundings. But Hall needs a few more lessons in how to craft a well-thought action movie. The script is hackneyed beyond the usual taking bits not only from Bonnie and Clyde but also Thelma and Louise Boyz N the Hood--and even a little Shawshank Redemption. Hall’s camerawork is also too frenetic at times almost dizzyingly so with unnecessary close ups and choppy sequences. That isn’t to say some of the gun play and car chases aren’t exciting enough. There just seems to be a lack of experience overall.